By Lee Teply Virginian-Pilot correspondent © September 29, 2013 NORFOLK
The Virginia Opera opened its season Friday evening at the Harrison Opera House with its first production of Giuseppe Verdi’s final masterpiece, “Falstaff.”
The cleverly staged production, featuring a well-chosen cast, was a fitting tribute to the composer’s 200th birthday year.
For many in the audience who may not have seen this infrequently staged opera for a long time, or ever, the twists and turns of the classic Shakespeare/Boito comedy could be followed easily by watching the fine acting. But, thanks to the supertitles, the meaning of the text was also understood, and that drew considerable laughter.
Conductor Joseph Rescigno returned to the pit, moving the music forward with a natural pacing. The orchestra of Virginia Symphony musicians played superbly, following his every nuance and maintaining balance with the singers. In the few moments of disagreement between pit and stage, Rescigno quickly restored control. What is perhaps the most challenging section, the final fugue for full cast and orchestra, seemed effortless, a brilliant conclusion to a spectacular opera.
In the title role, baritone Stephen Powell had a big sound to match Falstaff’s blustery personality and wide girth. While that comic side is expected, he could also draw sympathy at the rare moments when deeper feelings emerged. Never faltering in the demanding role, Powell was a major factor in the production’s success.
Baritone Weston Hurt, as Ford, was a worthy adversary. His effortless sound could be strong, and his emotional range showed in his one big solo scene. As Ford’s wife, Alice, soprano Elizabeth Caballero was equally strong-willed, manipulating those around her as surely as she did her flexible, high voice.
The young lovers, Nannetta and Fenton, played by soprano Amanda Opuszynski and tenor Aaron Blake, seemed to grow as the evening progressed. In their final-scene solos, warmly mature voices made them sound ready for marriage.
As Mistress Quickly, contralto Ann McMahon Quintero seemed in control of the situation, taking her tea service with her almost everywhere, as if to suggest that there is nothing a good cup of tea can’t solve. Her voice was smooth and warm, sometimes relaxing, like the other beverage she carried with her in a flask.
The smaller roles of Meg and Dr. Caius were very capably filled by mezzo-soprano Courtney Miller and tenor Ryan Connelly. Adding a good bit of the comic detail were the pair of Bardolfo and Pistola, played by tenor Jeffrey Halili and bass Jeffrey Tucker. The chorus, appearing only in the last scene, added the magical element needed for a true grand finale.
Throughout, stage director Stephen Lawless maneuvered the large cast effectively, adding the elements that made the production fit the chosen time of the 1890s. The sports gear and laundry hampers were particularly clever touches.
While Russell Craig’s costuming choices worked well, his set brought mixed reactions. His painted brick walls suggested a drab industrial facility, or perhaps a high school gymnasium. But all the additions to the set took attention away from those walls and did a good job of suggesting each scene’s locale.